Eugene Burney, “Portrait of Pope Innocent X”, 1884, after Velázquez

Eugene Burney (aka Burney, François Eugène) (1845–1907)

“Portrait of Pope Innocent X” (aka “Portrait d'Innocent X”), 1884, after Diego Velázquez’s (aka Diego Rodríguez de Silva y Velázquez) (1599–1660) painting (c.1650) of the same name (see https://en.wikipedia.org/wiki/Portrait_of_Innocent_X), in the Galleria Doria Pamphilj (Rome), printed by Charles Chardon (1832–1896) and published in Paris in the art periodical, “Gazette des Beaux Arts” (1st January, 1884), inserted between pages 22 and 23.

Engraving on chine collé on wove paper, trimmed with a small margin around the image borderline and writing edge and backed with a support sheet providing wide margins.

Size: (sheet) 23.4 x 17.9 cm; (image borderline) 19.4 x 14.9 cm.

Lettered in plate below the image borderline: (left) Velasquex pinx/ Gazette des Beaux-Arts”; (centre) “PORTRAIT D'INNOCENT X/ (Galerie Doria à Rome.); (right) “Burney sc./ Imp. Ch. Chardon”.

State xii (of xii) Published (lettered) state. I understand that this print passed through eleven states prior to the final lettered state and Beraldi advises: (transl.) “The head is visible on the first, it is erased on the next two; it reappears in the fourth” (p. 37).

Beraldi 7 (Henri Béraldi 1886, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: BRASCASSAT – CHÉRET”, vol. IV, Paris, Librairie L. Conquet, p. 37, cat. no. 7); IFF 8 (Jean Laren 1942, “Inventaire du Fonds Français après 1800”, Paris, Bibliothèque Nationale de France, Département des Estampes, vol. 3, p. 529, cat. no. 5 [see https://gallica.bnf.fr/ark:/12148/bpt6k5488545z/f538]).

Condition: a strong and well-printed (faultless) impression, trimmed with a small margin around the image and writing edge and laid onto a support of archival (millennium quality) washi paper providing wide margins.

I am selling this superb engraving after Velázquez’s famous portrait of the somewhat forbidding Pope Innocent X—a portrait made even more unforgettable in Francis Bacon’s haunting series of paintings of the Pope silently screaming—for AU$208 in total (currently/approximately US$137.36/ EUR127.33/ GBP109.40 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$208) as this is my currency.

If you are interested in purchasing this exceptional engraving executed by a pupil of Ferdinand Gaillard (1834–1887)—one of the finest of engravers of 19^th century France—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that Ferdinand Gaillard’s etching of Pope Leo XIII executed four years before Eugene Burney’s engraving is (surprisingly) currently still available: https://www.printsandprinciples.com/2023/06/ferdinand-gaillards-engraving-leon-xiii.html.

Jean Jacques Outhwaite’s etching with engraving, “Autumn Evening”, 1866, after Léon Cogniet

Jean Jacques Outhwaite (aka Jean Jacques Outhewaite) (fl.1836–1877)

“Autumn Evening” (aka “Automne Soir”), 1866, from the series, “Hôtel de Ville de Paris”, after Léon Cogniet’s (1794–1880) suite of paintings of the Four Seasons in the Zodiac Room of the former Hôtel de Ville in Paris, printed by Charles Chardon (1832–1896) and lettered with lines from Virgil's “Georgics”, 29 BCE, (I.493–497): (transl.) “[Of course, the time will come with those ends]/ the farmer stooped to till the ground with a plough/ He will find a rough rust ball/ or with heavy rakes he will knock the helmets empty/ the bones of the graves will be marvelled at by the great excavations.”

Etching with engraving on cream chine collé on heavy wove paper.

Size: (sheet) 50.5 x 76 cm; (plate) 35.4 x 61.5 cm; (chine collé) 33.2 x 59.3 cm; (outer image borderline) 47.8 x 19 cm.

Lettered in plate below the image borderline: (left) “PEINT PAR LEON COGNIET/ PUBLIE PAR LA VILLE DE PARIS”; (centre) “AGRICOLA, INCVRVO TERRAM MOLITVS ARATRO,/ EXESA INVENIET SCABRA RVBIGINE PILA;// AVT CRAVIBVS ROSTRIS GALEAS PVLSABIT INANES/ GRANDIAQVE EFFOSSIS MIRABITVR OSSA SEPVLCHRIS.”; “SALLE DU ZODIAQUE/ IMP. CH. CHARDON AINÉ RUE HAUTEFEUILLE, 30.”; (right) “GRAVE PAR OUTHẂAITE”.

Paris Musées offer a description of this print: https://www.parismuseescollections.paris.fr/fr/petit-palais/oeuvres/automne-soir-d-apres-cogniet-1#infos-secondaires-detail.

Condition: a strong and well-printed impression with generously wide margins. Beyond a few minor marks in the margins, this huge print is in an excellent condition with no tears, holes, folds, abrasions or significant stains.

I am selling this grand scale etching of great beauty for the total cost of AU$346 (currently US$235.92/EUR222.36/GBP196 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this allegorical etching steeped in the verses of Virgil's “Georgics” (I.493–497), please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Gustave Bertinot’s engraving, “Supper at Emmaus”, 1883, after Titian

Gustave Bertinot (aka Gustave Nicolas Bertinot) (1822–1888)

“Supper at Emmaus” (aka “Les Disciples d'Emmaùs”, “The Pilgrims of Emmaus”), 1883, plate 53 after Titian’s (aka Tiziano; Tiziano Vecellio) (1489/90–1576) painting of the same title (c1530) in the collection of the Louvre (Inv. no. 746; see https://commons.wikimedia.org/wiki/File:Titian_-_Supper_at_Emmaus_-_WGA22794.jpg), printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

Engraving on cream chine collé on heavy wove paper with wide margins.

Size: (sheet) 51.8 x 61.2 cm; (plate) 35.2 x 45.5 cm; (chine collé) 33 x 43 cm; (image borderline) 25.2 x 36.3 cm.

Lettered in plate below the image borderline: (left) “TITIEN PINX^T.”; (centre) “SOCIÉTE FRANÇAISE DE GRAVURE/ [stamped in ink] 53/ Imp. Ch. Chardon”; (right) “C. BERTINOT SCULP^T.”

Beraldi 17 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bellangé – Bovinet”, vol. 2, Paris, Librairie L. Conquet, p. 53, cat. no. 17).

Condition: a richly inked and near faultless impression with generously wide margins. Beyond small spots (mainly on the right side) the sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.  

I am selling this huge and exceptionally rare engraving exemplifying the discipline and skill of a master engraver for AU$304 in total (currently US$208.08/EUR207.12/GBP179.58 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this masterwork of engraving, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Paul Alphonse Bellay’s engraving, “Christ a la Monnaie”, 1885, after Titian

Charles Paul Alphonse Bellay (1826–1900)

“Christ a la Monnaie” (aka “Christ has the Coin”; “Christ with the Denarius”), 1885, plate 53 after Titian’s (aka Tiziano; Tiziano Vecellio) (1489/90–1576) painting of the same title (1514-15) (first version) in Gemäldegalerie Alte Meister in Dresden, printed by Charles Chardon (1832–1896) and published by the Société Française de Gravure (aka Société des Graveurs au Burin) (fl.1868–)—a society that the BM advises was founded by Henriquel-Dupont at the Gazette des Beaux-Arts to publish plates for distribution to its members (see https://www.britishmuseum.org/collection/term/BIOG183625).

Engraving on cream chine collé on heavy wove paper with wide margins.

Size: (sheet) 63.4 x 48.7 cm; (plate) 41 x 29.6 cm; (chine collé) 38.7 x 27.3 cm; (image borderline) 18.8 x 21.7 cm.

Lettered in plate below the image borderline: (left) “TITIEN PINX^T.”; (centre) “SOCIÉTÉ FRANÇAISE DE GRAVURE/ [stamped in ink] 53/ Imp. Ch. Chardon”; (right) “CH. BELLAY SCULP^T.”

Beraldi 22 (Henri Béraldi 1885, “Les Graveurs du XIXe Siècle: Guide de l'Amateur d'Estampes Modernes: Bellangé – Bovinet”, vol. 2, Paris, Librairie L. Conquet, p. 26, cat. no. 22).

Condition: a richly inked and near faultless impression with generously wide margins. The front side of the sheet (recto) is in near pristine condition with no tears, holes, folds, abrasions, significant stains or signs of handling, but the back of the sheet (verso) shows faint spots of foxing.

I am selling this huge and exceptionally rare engraving exemplifying the discipline and skill of a master engraver for AU$304 in total (currently US$209.633/EUR209.08/GBP179.44 at the time of posting this listing) including postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries.

If you are interested in purchasing this masterwork of engraving—note that the portrayed event in which Christ advises regarding the paying of taxes that one should “render unto Caesar the things that are Caesar’s, and unto God the things that are God’s” had added meaning for Duke Alfonzo who commissioned Titian to paint the scene as the Duke had been excommunicated by the Papacy because he wasn’t prepared to fund the Papacy’s war interests—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Rodolphe Piguet’s drypoint, “Young Woman with Muff”, 1885

Rodolphe Piguet (aka Rodolphe Piquet) (1840-1915)

“Young Woman with Muff” (aka “A Parisian Woman”; “Femme au Manchon”; “Jeune Femme au Chapeau et au Manchon”), 1885, a remarque-proof impression signed and dated in the plate before lettering for publication and printing by Charles Chardon in “L’Art” in Paris.

Drypoint with pale plate tone on buff laid (Imperial Japan) paper with a floral bouquet remarque at lower left.

Size: (sheet) 36.6 x 27.4 cm; (plate) 34.4 x 24.7 cm; (image borderline) 31.5 x 22 cm.

Inscribed in plate: (lower right corner) “R Piguet/ 1885”.

See the descriptions of this print offered by Proantic and at Museum of Art and History (MAH), City of Geneva: https://www.proantic.com/display.php?id=517085; https://collections.geneve.ch/mah/oeuvre/une-parisienne/e-2020-0193.  

Condition: a richly inked and well-printed impression with small margins around the platemark. Beyond toning at the upper margin edge, the sheet is in a an excellent condition with no tears, holes, folds, abrasions, losses, significant stains, foxing or signs of handling.

I am selling this exceptionally beautiful portrait by an artist who is justifiably famous for his sensitivity and technical brilliance in handling the drypoint point needle, for a total cost of AU$257 (currently US$286.07/EUR186.05/GBP137.37 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. 

If you are interested in purchasing this portrait of a young Parisian woman fashionably dressed in the spirit of the Belle Époque as perceived by a Swiss artist (arguably) influenced by the sprit of Impressionism, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.